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Town Bloody Hall is a 1979 documentary film of a panel debate between feminist advocates and activist Norman Mailer. [1] Filmed on April 30, 1971, in The Town Hall in New York City. Town Bloody Hall features a panel of feminist advocates for the women's liberation movement and Norman Mailer, author of The Prisoner of Sex (1971).
- The great documentary filmmaker D. A. Pennebaker was motivated to shoot by curiosity. He loved music and friendship, and he had an understanding that everything he filmed recorded histories both personal and cultural: Robert Kennedy and Sammy Davis Jr.
- Pennebaker and his fellow camera operators (Jim Desmond and Mark Woodcock) eventually filmed the event—which took place on April 30, 1971—without official permits.
- The “Dialogue on Women’s Liberation” was produced by Shirley Broughton for the Theater of Ideas, an organization that she founded in 1961. A ticket to the event ran a costly twenty-five dollars, and the crowd was made up of New York’s intellectual elite.
- Mailer had hoped to debate Kate Millett, whose Sexual Politics (1970) investigated the subjugation of women in literature and art by male artists (Mailer included).
Aug 18, 2020 · But nearly fifty years after the event it documents, Town Bloody Hall has lost none of its power to entrance—and enrage—with its manic, stimulating, polyvocal energy. Starting in the mid-2010s, the documentary became popular on the repertory circuit; those who had grown weary of a feminism articulated via hashtag or hot take surely found ...
Apr 3, 1979 · Town Bloody Hall. Infamously macho author Norman Mailer shares a 1971 NYC panel with an audience of intellectual women and famous feminists receiving a lively critique revealing the sophisticated political, literary discourse of early Women's Lib movement.
- (414)
- Documentary
- Chris Hegedus, D.A. Pennebaker
- 1979-04-03
Heady, heated, and hilarious, Town Bloody Hall is a dazzling display of feminist firepower courtesy of some of the most influential figures of the era, with Mailer plainly relishing his role as the pugnacious rabble-rouser and literary lion at the center of it all.
In 1976, twenty-four year-old experimental filmmaker Chris Hegedus, eking out a living among the bohemians of Greenwich Village (this was decades before gentrification), landed a job with D. A. Pennebaker, the legendary cinéma vérité documentarian.
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